Email digest for the Global Conservation Forum (ConsDistList) egroup. ------------------------------------------------------------------------------------------------------------
1. Save The Date! Southeast Region Conservation Association Annual Meeting March 5th-7th in Savannah, GA 2. RE: Newly exposed underwater cultural heritage 3. RE: Paintings research query 4. Experience using Zerust Vapour Capsules in Museum/Heritage settings 5. Job opportunity - National Conservation Service, London 6. Lecturer in Conservation -Durham University 7. RE: Newly exposed underwater cultural heritage 8. RE: Paintings research query 9. Constable Expert Sarah Cove ACR to Deliver Icon's Annual Lecture 2026 ------------------------------------------------------------------------------------------------------------ 1.From: Marianne Kelsey Posted: Wednesday August 5, 2026 12:11 AM Subject: Save The Date! Southeast Region Conservation Association Annual Meeting March 5th-7th in Savannah, GA Message: Mark your calendars! Join us March 5th–7th, 2027 for the Southeast Region Conservation Association's Annual Meeting in beautiful and historic Savannah, Georgia! Registration: • Members: $275 • Non-Members: $300 Additional details, including the Meeting Theme & Call for Proposals, will be coming soon. We can't wait to welcome you to Savannah for another unforgettable SERCA Annual Meeting! ------------------------------ Marianne Kelsey SERCA Communications Coordinator Kelsey Conservation Greensboro NC ------------------------------ 2.From: Vania Janković Posted: Tuesday August 4, 2026 6:43 AM Subject: RE: Newly exposed underwater cultural heritage Message: Dear Lora, Thank you very much for sharing this! I had seen reports about the discovery, but I hadn't come across the interview discussing the conservation process, so it would be great to learn more about it. Fortunately, my Serbian was just about enough to follow the Bulgarian! I really appreciate your kind offer to put me in touch with colleagues at the Regional History Museum. If possible, I would be very grateful to get in touch with anyone involved in documenting and conserving finds exposed by the Danube's low water levels. Many thanks again for thinking of my research! Kind regards, Vania ------------------------------ Vania Janković Academy of Arts Novi Sad Serbia ------------------------------ ------------------------------------------- Original Message: Sent: 08-03-2026 16:22 From: Lora Angelova Subject: Newly exposed underwater cultural heritage Hi Vania, The same day I saw your post, I also read this news in the Bulgarian media about the remains of a mammoth uncovered in the Danube near Ruse. The video interview includes a bit about the conservation process. Although it's Bulgarian, it might be somewhat legible to you, as our languages are so close. I don't know the colleagues in the Regional History Museum, but I can potentially try to find someone who can put you in touch. Do let me know if that would be helpful. https://bnt.bg/news/mamutat-ot-dunav-kak-shte-badat-obsledvani-ostankite-i-kakva-istoriya-shte-razkazhat-v419541-350476news.html Best wishes, Lora ------------------------------ Lora Angelova Senior Scientist - Treatment Studies Research Getty Conservation Institute Los Angeles United States ------------------------------ 3.From: Louise O'Connor Posted: Tuesday August 4, 2026 6:43 AM Subject: RE: Paintings research query Message: You're welcome Elizabeth. re oil paintings with cut-outs, I don't recall coming across this technique in Hamilton oil portraits. but it's 20 years ago since I looked, so memory probably not serving me best! ------------------------------ Louise O'Connor Library Conservator University College Cork Cork Ireland ------------------------------ ------------------------------------------- Original Message: Sent: 07-31-2026 14:37 From: Elizabeth Mansfield Subject: Paintings research query Thank you, Louise! Another member of the list kindly alerted me to your excellent article on Hamilton's use of this technique. I'm now hoping to determine whether he adapted the technique to any of the portraits he produced in oil on canvas. I expect you would have come across any examples if he had been cutting and pasting pieces of canvas. With thanks,Elizabeth Original Message: Sent: 7/31/2026 5:29:00 AM From: Louise O'Connor Subject: RE: Paintings research query the cut-outs techique was also used by pastellist Hugh Douglas Hamilton - see this article Full article: Techniques in Pastel Portraits: Case Study of Hugh Douglas Hamilton <https://www.tandfonline.com/doi/full/10.1080/18680860.2018.1642024#d1e315> ------------------------------ Louise O'Connor Library Conservator University College Cork Cork Ireland ------------------------------ 4.From: Eleanor Bennett Posted: Tuesday August 4, 2026 12:17 PM Subject: Experience using Zerust Vapour Capsules in Museum/Heritage settings Message: I have found a number of 'Zerust Vapour Capsules' unused in my inherited conservation lab. They seem to work by releasing a vapour that covers objects to provide a barrier against moisture, which then dissipates when removed from a closed environment. I've not heard of the brand before and am wondering if anyone has any experience of using them in a conservation capacity. ------------------------------ Eleanor Bennett Conservator Oxfordshire County Council ------------------------------ 5.From: Lucy Charles Posted: Tuesday August 4, 2026 4:23 PM Subject: Job opportunity - National Conservation Service, London Message: Join Our Team: Paper Conservator at National Conservation Service We're seeking a proactive and dynamic Paper Conservator to join our busy London studio on a 1-year contract in the first instance, working on a diverse range of archive and library items for a wide range of institutions. The role is full time but a part-time role of 4 days per week can be accommodated. About the Role This is a fantastic chance to immerse yourself in a busy studio contributing to both hands-on treatment and essential preventative projects. You'll be working on a wide variety of materials carrying out a variety of remedial treatments, with a specialist focus on paper conservation treatments. The level and seniority of the role will be based on experience. An example of some of the main tasks are: * Condition assessment, report writing and documentation * Performing complex conservation treatments, including cleaning, repairs and stabilisation, adhering to the highest professional standards * Developing and implementing preventative conservation strategies as necessary, such as digitisation and rehousing * Carry out digitisation capture along with other team members * Working collaboratively with a team of experienced conservators and other specialists * Contributing to project planning * Maintaining accurate treatment records and photographic documentation What We're Looking For * A post-graduate degree or equivalent qualification in Paper Conservation with 2 years post-qualification experience as a minimum * Proven experience of carrying out a broad range of paper treatments of all kinds, preferably archival plus some art on paper * Experience in photographic conservation treatments would be desirable * Experience using digitisation software would be desirable * Exceptional practical skills in paper conservation demonstrating precision and attention to detail * A strong understanding of conservation ethics and principles * Excellent problem-solving abilities and a proactive approach * Strong communication and interpersonal skills, able to work effectively as part of a team and liaise with clients * The ability to manage your time effectively and work to deadlines Why Join Us? We offer a stimulating and supportive work environment where you'll have the opportunity to work on unique and historically significant items, working in our London studio in Hackney. You'll be part of a dedicated team committed to excellence in conservation, with opportunities for professional development and continuous learning. Depending on skills, experience and ICON Accreditation status, the salary range would be between £32,000 to £42,000 fte. Please note that only applicants with a valid work visa for the UK can apply, all applicants will be asked to provide proof of their legal right to work in the UK. If you would like to discuss the role or have any questions, please contact Lucy at [email protected] <[email protected]> Please send expressions of interest and a CV to [email protected] by Wednesday 30 September 12pm. ------------------------------ Lucy Charles Conservation Business Manger National Conservation Service London UK [email protected] ------------------------------ 6.From: Emily Williams Posted: Tuesday August 4, 2026 4:23 PM Subject: Lecturer in Conservation -Durham University Message: Lecturer (Teaching) in Conservation (Job Number: 26000973) Department of Archaeology, Durham University, Durham, England Grade 7: £38,784 - £46,049 per annum Open-Ended/Permanent - Full Time Applications are invited for a Lecturer (Teaching) in Conservation to support teaching on our MSc in Conservation of Archaeological and Museum Objects as well as conservation-related teaching on other undergraduate and post-graduate modules. Additionally, this role contributes to commercial work and research activities within the conservation lab. This is a full time, permanent role. For further details, please see the job posting on the University's website or access it through the link here: Job Description - Lecturer (Teaching) in Conservation (26000973) <https://durham.taleo.net/careersection/du_ext/jobdetail.ftl?job=26000973&tz=GMT%2B01%3A00&tzname=Europe%2FLondon> ------------------------------ Emily Williams Professor, Archaeological Conservation Durham University Durham, UK ------------------------------ 7.From: Paul Harrison Posted: Tuesday August 4, 2026 4:23 PM Subject: RE: Newly exposed underwater cultural heritage Message: Look at the work Ian MacLeod et al are doing in Western Australia and from there elsewhere, ships have aluminium and or zinc blocks on them in operation to hinder corrosion Ian has a phd in this , his people attach big aluminium blocks to them the block then corrodes ship survives . I was in discussion with him and then a councillor and a Baroness whom I know , who sits in the House of Lords , I am a Brit , our second tier for an interesting wreck we have in the UK Paul Harrison FIIC ------------------------------------------- Original Message: Sent: 8/3/2026 4:23:00 PM From: Lora Angelova Subject: RE: Newly exposed underwater cultural heritage Hi Vania, The same day I saw your post, I also read this news in the Bulgarian media about the remains of a mammoth uncovered in the Danube near Ruse. The video interview includes a bit about the conservation process. Although it's Bulgarian, it might be somewhat legible to you, as our languages are so close. I don't know the colleagues in the Regional History Museum, but I can potentially try to find someone who can put you in touch. Do let me know if that would be helpful. https://bnt.bg/news/mamutat-ot-dunav-kak-shte-badat-obsledvani-ostankite-i-kakva-istoriya-shte-razkazhat-v419541-350476news.html Best wishes, Lora ------------------------------ Lora Angelova Senior Scientist - Treatment Studies Research Getty Conservation Institute Los Angeles United States ------------------------------ ------------------------------------------- Original Message: Sent: 08-01-2026 07:27 From: Vania Janković Subject: Newly exposed underwater cultural heritage Dear colleagues, My name is Vania, and I am currently pursuing a master's degree in Conservation and Restoration, with my thesis focusing on the preventive conservation of underwater archaeological sites. My research focuses on the development of preventive conservation strategies for submerged cultural heritage, with particular emphasis on freshwater environments. With this summer's drought causing exceptionally low water levels along the Danube and exposing archaeological remains that are normally submerged, I was interested to find out whether any organizations, research teams, or heritage authorities are currently carrying out documentation, stabilization, monitoring, or other conservation measures at these sites. I have seen reports of submerged World War II remains being exposed in Croatia and in Hungary due to the low water levels, which further made me wonder whether any discoveries along the Danube are being systematically recorded or protected. I would be very interested in learning about any ongoing projects, fieldwork, emergency interventions, or even planned initiatives related to the protection of this newly exposed underwater cultural heritage. If anyone has any information, publications, or contacts working in this area, I would greatly appreciate it. With thanks, Vania ------------------------------ Vania Janković Academy of Arts Novi Sad Serbia ------------------------------ 8.From: Mark Aronson Posted: Tuesday August 4, 2026 4:23 PM Subject: RE: Paintings research query Message: Hi Elizabeth Mansfield, Be sure and look at Jessica David's article on Johann Zoffany's Drummond Family in the Yale Center for British Art. https://collections.britishart.yale.edu/catalog/tms:428 Jessica David, Palette, Brush, and Knife: A Technical Examination of Johan Zoffany's Drummond Family, http://www.youtube.com/v/NmUscyrPhtY , September 2, 2011, https://www.youtube.com/watch?v=NmUscyrPhtY [Website <https://www.youtube.com/watch?v=NmUscyrPhtY>] Also in the catalogue in Zoffany, "Society Observed," 2011. Mark Aronson Yale Center for British Art ------------------------------ Mark Aronson Senior Conservator Yale Center for British Art New Haven United States ------------------------------ ------------------------------------------- Original Message: Sent: 07-29-2026 11:41 From: Elizabeth Mansfield Subject: Paintings research query I am an art historian currently working on British, oil-on-canvas portraits of the 18th century. I've encountered an interesting cut-and-paste technique associated chiefly with two portrait painters, Hamlet Winstanley (1698 - 1756) and Robert Edge Pine (1730-88), and I'm hoping to learn how widespread this technique might have been. Both artists occasionally painted the faces of their subjects directly onto a small piece of canvas, which would then be glued onto (or fitted into) larger canvases before the whole work was finished, sometimes by a different artist or an assistant. In Pine's case, the piece of canvas on which he painted the face (presumably from life) would be trimmed down to the edge of the face, resulting in oval pieces of canvas that would be glued onto or stitched into a larger canvas. The technique is documented in Robert G. Stewart's catalogue of Pine's American paintings (1784 – 1788), which includes x-ray images of some paintings. I would be grateful to know if this technique is evident in works on canvas by other British or European painters active between 1650 and 1850. With thanks and apologies for any cross-postings, Elizabeth Mansfield Penn State University [email protected] <[email protected]> 9.From: Amy Neal Posted: Tuesday August 4, 2026 4:26 PM Subject: Constable Expert Sarah Cove ACR to Deliver Icon's Annual Lecture 2026 Message: Constable Expert Sarah Cove ACR to Deliver Icon's Annual Lecture 2026 <https://www.icon.org.uk/resource/constable-expert-sarah-cove-acr-to-deliver-icon-s-annual-lecture-2026.html> Amy Neal (she/her) Marketing and Membership Manager Institute of Conservation Studio 32, FBC Clerkenwell, 40 Bowling Green Lane, EC1R 0NE Icon is registered as a Charity in England and Wales (Number 1108380 <tel:1108380>) and in Scotland (Number SC039336) and is a Company Limited by Guarantee, (Number 5201058). This email and any files transmitted with it are intended solely for the use of the individual(s) to whom they are addressed. 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